Imagine if convicted war criminals escaped from prison and years later someone wanted to make a movie about the escape. Potential investors in the project would of course have to consider how the violence of the escape might be portrayed; as with any escape movie, they might not want to be associated with romanticising what happened. However, they would also have to consider the more fundamental question of whether or not the movie made plain that the protagonists were war criminals, combatants who had chosen to target civilians. Now, if the investors included public bodies like the Irish Film Board, RTE and Cork County Council, you’d imagine that they had considered this very carefully indeed.